The show takes place Saturday, Oct. 25 at the LA Sports Arena and Exposition Park, which seems to be L.A.'s new go-to place for festivals (same place FYF Fest is now being held). Tickets are $114, or $275 for a VIP ticket.

The comedy and music festival will feature a who's who of alternative comedy and comedy-friendly musicians, including:

Proving once and for all that I have my finger on the pulse of what youth today really want, I’m continuing my list of favorites from the so-called Golden Age of Radio. You older, out-of-touch squares can stop reading now and go listen to punk rock or trip-hop or whatever it is seniors are into these days.

Now that the fogeys are out of the (metaphorical) room, read and listen on...

Let’s consider a comedy, namely, Our Miss Brooks.

Premiering in 1948, Our Miss Brooks was an immediate success, garnering awards and a loyal fan base for its lead actress, Eve Arden.

People don’t speak of Eve Arden as much as her talent warrants. She had fantastic comic timing, capable of evoking laugh-out-loud moments with a single, monosyllabic word.

Our Miss Brooks has flimsy, unimaginative plot-lines, and you’ll never listen to it because you “can’t wait to find out what happens next.” The show is great because the cast is great, and Eve Arden delivers punch-lines with such wry deftness, it’s as if Touchstone from As You Like It has been reincarnated as a public high school teacher.

I haven’t had a good night’s sleep in days; what sleep I have gotten is mostly thanks to the fine folks who make Motrin PM. (In the interest of full disclosure you should know that while McNeil Consumer Healthcare – makers of the aforementioned drug – are not a sponsor of the Amoeblog, they do give us free donuts on Mondays and occasionally wash our cars for an extra buck or two.)

While my Mom was kind enough to pass down to me a knack for cooking and robust health, I also inherited her tenuous sleeping habits. We deal with it similarly, too: we listen to the radio to keep our minds from, as she puts it:

“Going, going, going… just making plans and playing with ideas.”

Or, as I put it:

“Obliterating my peace of mind with the chaos and fury of post-traumatic stress fantasies catalyzed by a cruel and crippling world.”

It’s semantics, really.

Mom likes to treat this with AM radio, a favorite program being Coast to Coast. While this particular broadcast seems to promote a nightmarish reality of government conspiracy, alien invasion, body snatching and morally questionable fringe-sciences, she finds it delightful. That she does speaks to her unwavering trust in our fellow man and her willingness to believe everyone deserves to prove their innate goodness – even if, I suppose, it’s lizard-men from another planet who are covertly running our government.

Comedian/actor Matt Walsh hosts this month’s charity auction at Amoeba Hollywood July 7 at 4 p.m., where the store will be auctioning off concert tickets for upcoming shows by Ariel Pink, Grimes and The Black Keys, as well as gift certificates for Trader Joe’s and Urban Outfitters, signed collectibles and more. Proceeds from the auction benefit Camp Crescent Moon, the nation's first and oldest summer camp for children with sickle cell anemia.

Walsh is one of the founders of the Upright Citizens Brigade, the comedy troupe that started in Chicago in the early ’90s and has seen such alumni as Amy Poehler, Horatio Sanz and Adam McKay, in addition to opening theaters in New York and Los Angeles hosting live shows and improv classes. Walsh also starred in the TV version of “Upright Citizens Brigade” on Comedy Central with Poehler, Ian Roberts and Matt Besser. Walsh has been in such Todd Phillips films as Old School, was a correspondent on “The Daily Show,” recently released on DVD his directorial debut with High Road, starring Ed Helms and Lizzy Caplan, and now stars in HBO’s “Veep” alongside Julia Louis-Dreyfus. His Comedy Central show “Dog Bites Man” hit DVD in June, detailing a hapless local news team’s fruitless attempts to portray hard-hitting issues, co-starring Zach Galifianakis, Andrea Savage and A.D. Miles. I sat down to speak with Walsh a bit about that show and his career thus far.

Me: Are you excited about “Dog Bites Man” coming out on DVD? Have people been asking you when it’s going to come out?

Walsh: I’m really excited about because I’m pretty sure a lot of people never saw it. I thought it was a really fun show to make, and it was a great cast, obviously, but I think it was a really interesting experiment in television, and I’m glad it’s out there in some form.

Me: Did you guys watch a lot of local news clips on YouTube or local talk show clips while making the show for inspiration? Did your work on “The Daily Show” factor in when making “Dog Bites Man”?

Walsh: Yeah, I think my experience on “The Daily Show” helped me own like a reporter persona and know what is silly about news. I think a lot of the story ideas came from — I think local news covers the mundane. I think there’s a simple truth to that. So a lot of the stories we came up with were mundane or classic retreads of safety issues or community issues or things like that. There’s one episode where we went to visit the KKK, but I don’t think it ever aired and I don’t think it’s on the DVD.

Me: Can you talk a bit about your role in Ted? I think a lot of “Family Guy” fans are wondering what to expect from the movie.

Walsh: I think it’s Seth’s sensibility in the movie, so I think there are a lot of hard laughs — things go on for too long, a lot of obscure references. It’s a little sweeter, more driven by emotion [than “Family Guy”]. But I’m sure true fans of the show will find similar stylistic choices. In general it feels much more like a movie than an animated half hour. I’m in a few scenes, I play Mark Wahlberg’s boss at a rental car agency. I think I’m hot shit because I’m friend with Tom Skerrit. I basically keep flaunting that in front of him, that he’ll never be friends with Tom Skerrit.

Walsh: How much are you allowed to do improv on “Veep”? Can you talk a bit about how that show comes together?

Walsh: We spent probably three or four weeks rehearsing before we shot anything. We would get scripts and put them on our feet and perform. … I think once they saw our take on the character, they’d take the scripts away and rewrite them and you’d see some of the jokes you heard in the room. … On the day [of filming], we were always doing two or three improv takes where we hit the points, but we were able to have fun and explore.

Me: How did you put High Road together? As the film is based on improvisation, did you rehearse a lot or just keep filming till you found something you liked? And what’s the response been like?

Walsh: High Road came about because I’ve always been a fan of the improv movie. I love Christopher Guess movies like Spinal Tap, so that was my goal at some point, put all the funny improvisers I knew into one movie. We took 70 scenes, spent two weeks at the UCB theater introducing the characters to each other. … By the time we started filming, they didn’t have to make anything up. … Generally we would kind of hit the takes and get pretty tight and hone what we like, and then if there was something new, we’d explore a tangent. We had jokes for certain scenes to make sure there were hard laughs in the movie. And it’s been really well-received. I got an award at the Newport [Beach] Film Festival lat year. … We’ve done like four or five film festivals and did a brief theatrical run in L.A. and New York, and then it came out on DVD.

Me: What else are you working on these days?

Walsh: I have a couple of movies I’m trying to get off the ground. We go back to “Veep” in October, so hopefully in the next couple months I’ll be shooting a small indie comedy. I’m going to New York for the UCB festival this weekend, and enjoying the Valley heat.

Me: What do you think UCB means for L.A. comedy?

Walsh: Hopefully UCB comedy means good comedy. It’s all things funny. We have improv, standup, sketch comedy, musicals, one-person shows … the formats are wide open. It’s not limited to one specific style. I think the quality’s good, it’s really competitive to get in there. … We try to stay in touch with what’s new and what’s out there. … I think people take it real serious and enjoy it. The other benefit is the audience has been trained. It’s not like they have to pay 20 bucks and buy two drinks. I think the audiences are great and are more game, more open to the wonderful expectation of “I’m not sure what’s its going to be, but I know it’s going to be funny.” I think that’s a wonderful environment for a performer to step into. I think that’s the other blessing of L.A. is that on any given night, there are established comedians looking to get on stage, whether it’s Patton Oswalt or Paul F. Tompkins or Sarah Silverman. We’re really fortunate that our theater pool is so great because there are so many great people looking to get on stage every night.